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RadioBOSS lets you set up your own Internet radio station. The program can send audio stream to a Shoutcast, Icecast or Windows Media Server to broadcast it out to listeners. The software reads the audio data from a playlist and encodes it on the fly. It’s possible to set up any number of broadcasting encoders.

To broadcast an Internet radio, follow the steps below (other broadcasting programs are configured the same way).

1. In the top menu bar, select Settings -> Options…

Just want to update my review from earlier: RadioBOSS has been exactly what the name implies. I've never had it lock up once and now I've done over 150 talk shows that had commercials and music (ranging from 30 minute shows to 3 hours, usually averaging about 2 hours). Radiologik is a system suitable for both live DJing and 24/7 radio automation on the Mac.

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2. In the Settings window, select Metadata.

Fill in your station info: station name, description, URL, genre and other parameters. This is the global station information and is used for all encoders. Any encoder can override this information if needed.

Radio Broadcasting Software. A list of a few Radio Broadcasting Software that can be used to create your Internet Radio Station and are compatible with SHOUTcast and Icecast systems. Top 15 RadioBOSS Alternative and Similar Softwares Jan 2021 RadioBOSS provides professional radio programming engineering and automation at a fraction of what other applications cost. If you're creating programming for a terrestrial or Internet radio station, RadioBOSS lets you build sophisticated playlists with the professional features you.

3. In the Settings window, select Broadcast.

4. To add a new encoder, click the “+” button.
5. The encoder window will open:
You can use the Configuration Wizard or enter all connection details manually.

Sample rate, Encoder type, Bitrate, and Channels set the broadcasting format.

Click the Configuration Wizard button and select Icecast server:
Click the Next button. Then enter the details that you received by email after purchasing a radio hosting service (Server address/IP, Port, Source Password, Username – leave it blank).

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This data is also available on the Centova control panel:

  • Server type, server address and port in the Quick Links section:
  • Source password in the Settings section:

Once you have entered all the settings, click Finish and OK. The encoder will be added to the encoders list.
6. In the Settings window, check the check boxes for all encoders that you want to use. Remember to turn on the “Broadcasting enabled” option on the top.
7. Click OK.

On successful connection, the report in the bottom-left corner will show the following message: Connected to server! (output N). It means that listeners can connect to the streaming server and listen to your radio.

Once the broadcasting properties are properly configured, RadioBOSS will broadcast whatever is currently playing via the Internet radio station in real time.

If the setup is incorrect, RadioBOSS will show an error message in the report. The error message will describe the problem and show the number of the encoder that failed to start (e.g. “output 1”).

If this is the case, open the Settings window, select that encoder in the list, and click the Edit button to fix the configuration.

Click here to find out what an error message means and how you can fix it.

ReplayGain is a proposed standard published by David Robinson in 2001 to measure and normalize the perceived loudness of audio in computer audio formats such as MP3 and Ogg Vorbis. It allows media players to normalize loudness for individual tracks or albums. This avoids the common problem of having to manually adjust volume levels between tracks when playing audio files from albums that have been mastered at different loudness levels.

Although this de facto standard is now formally known as ReplayGain,[1] it was originally known as Replay Gain and is sometimes abbreviated RG.

ReplayGain is supported in a large number of media software and portable devices.

Operation[edit]

ReplayGain works by first performing a psychoacoustic analysis of an entire audio track or album to measure peak level and perceived loudness. Equal-loudness contours are used for to compensate for frequency effects and statistical analysis is used to accommodate for effects related to time. The difference between the measured perceived loudness and the desired target loudness is calculated; this is considered the ideal replay gain value. Typically, the replay gain and peak level values are then stored as metadata in the audio file. ReplayGain-capable audio players use the replay gain metadata to automatically attenuate or amplify the signal on a per-track or per-album basis such that tracks or albums play at a similar loudness level. The peak level metadata can be used to prevent gain adjustments from inducing clipping in the playback device.[2]

Metadata[edit]

The original ReplayGain proposal specified an 8-byte field in the header of any file. Most implementations now use tags for ReplayGain information. FLAC and Ogg Vorbis use the REPLAYGAIN_*Vorbis comment fields. MP3 files usually use ID3v2. Other formats such as AAC and WMA use their native tag formats with a specially formatted tag entry listing the track's replay gain and peak loudness.

ReplayGain utilities usually add metadata to the audio files without altering the original audio data. Alternatively, a tool can amplify or attenuate the data itself and save the result to another, gain-adjusted audio file; this is not perfectly reversible in most cases. Some lossy audio formats, such as MP3, are structured in a way that they encode the volume of each compressed frame in a stream, and tools such as MP3Gain take advantage of this for directly applying the gain adjustment to MP3 files, adding undo information so that the process is reversible.

Mac

Target loudness[edit]

The target loudness of ReplayGain utilities is 89 dB sound pressure level.[note 1] The SPL reference comes from a SMPTE recommendation used to calibrate playback levels in movie theaters.[note 2]

A more common means of specifying a reference level is relative to a full-scale signal. ReplayGain nominally plays at -14 dB relative to full-scale leaving 14 dB of headroom for reproduction of dynamic material. In contrast, the SMPTE RP 200:2002, on which the ReplayGain reference was originally based, recommends 20 dB of headroom. The more recent EBU R 128 suggests 23 dB.[6]

Track-gain and album-gain[edit]

ReplayGain analysis can be performed on individual tracks, so that all tracks will be of equal volume on playback. Analysis can also be performed on a per-album basis. In album-gain analysis an additional peak-value and gain-value, which will be shared by the whole album, is calculated. Using the album-gain values during playback will preserve the volume differences among tracks on an album.

On playback, listeners may decide if they want all tracks to sound equally loud or if they want all albums to sound equally loud with different tracks having different loudness. In album-gain mode, when album-gain data is missing, players should use track-gain data instead.

Alternatives[edit]

  • Peak amplitude is not a reliable indicator of loudness, so consequently peak normalization does not offer reliable normalization of perceived loudness. RMS normalization is more accurate, but does not take into account psychoacoustic aspects of loudness perception.
  • With dynamic range compression, volume may be altered on-the-fly on playback producing a variable-gain normalization, as opposed to the constant gain as rendered by ReplayGain. While dynamic range compression is beneficial in keeping volume constant, it changes the artistic intent of the recording.
  • Sound Check is a proprietary Apple Inc. technology similar in function to ReplayGain. It is available in iTunes and on the iPod.[7]
  • Standard measurement algorithms for broadcast loudness monitoring applications have recently been developed by the International Telecommunication Union (ITU-R BS.1770) and the European Broadcasting Union (EBU R128).[6]

Implementations[edit]

Mac

Audio players[edit]

  • AIMP, Windows[8]
  • Amarok, KDE desktop environment. Native ReplayGain support was added in Amarok 2.1.[9][10][11]
  • Audacious, Unix-like systems and Windows
  • Aqualung Music Player, Linux and Windows
  • Banshee, Linux
  • Clementine, Windows, Mac OS X and Linux
  • cmus, Unix-like systems
  • Cue Broadcast Audio Player, Windows[12][failed verification]
  • DeaDBeeF, GNU/Linux, *BSD, OpenSolaris and Mac OS X[13]
  • Exaile, Linux/GNOME desktop environment
  • FLAC, the reference FLAC decoder can create a new copy with ReplayGain applied, through the undocumented option --apply-replaygain-which-is-not-lossless as of version 1.1.1[14]
  • foobar2000, Windows
  • hunisPRO automation system, Windows[12]
  • JRiver Media Center, Windows[15][failed verification]
  • JavaTunes, Windows, Linux and Mac OS X[16]
  • Kodi, cross-platform
  • MediaMonkey, Windows
  • Mixxx virtual DJ software, v1.9.0 and up
  • madplay, Unix-like systems
  • Mpg123, supported for only Xing/Lame/Info header
  • MPD, Unix-like systems
  • Muine, GNOME desktop environment
  • MusicBee, Windows
  • Nightingale, Linux, Mac OS X, Windows
  • Play, Mac OS X[17]
  • Pocket Player, Windows Mobile,[18] through the ReplayGain DSP plugin[19]
  • ProppFrexx ONAIR, Windows[20]
  • Pulsar+, Android
  • Qmmp, cross-platform[21]
  • Quod Libet, Unix-like systems. Reads ReplayGain metadata natively. Has a plugin to analyze and write ReplayGain information.
  • QuuxPlayer, Windows
  • RadioBOSS, Windows radio automation software[22]
  • Rhythmbox, GNOME (through a plug-in)
  • Songbird, Windows and Mac OS X
  • SoX, cross-platform[23]
  • Squeezebox hardware and accompanying SlimServer/SqueezeCenter software from Slim Devices
  • VLC media player, multiplatform. Reads ReplayGain metadata natively
  • Winamp, Windows
  • XMMS, Unix-like systems with X11. Supports ReplayGain for Vorbis; for MP3 files, a patched version of the xmms-mad plugin which only supports APEv2 is available[24])
  • XMMS2, Unix-like systems
  • XMPlay, Windows[25]
  • Zortam Mp3 Media Studio, Windows[26]

Portable media players[edit]

  • All devices with a working Rockbox port[27]
  • SandiskSansa Fuze and Sansa Clip+[28]
  • iPod through other programs that convert ReplayGain data to the Apple proprietary Sound Check format (e.g. iPod Manager for foobar2000, other alternatives elsewhere on this page)
Alternative

Typical CD players and other legacy audio players do not support ReplayGain.

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Android compatible players[edit]

  • DeaDBeeF[29]
  • foobar2000 for Android
  • GoneMAD Music Player[30]
  • Neutron Music Player[31]
  • MyTunes[32]
  • PowerAMP[33]
  • Vanilla Music[34]
  • Winamp PRO for Android[35]
  • Vinyl Music Player[36]
  • XenoAmp Music Player[37]

Scanners[edit]

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  • beaTunes: Writes the standard replaygain_track_gain/replaygain_track_peak tags and replaces the iTunNORM metadata tag value, which is used by iTunes software and iPod music players for Sound Check volume normalization.
  • Ex Falso: Included plugin scans files on a per-album base, writes the standard tags into metadata.
  • FLAC and metaflac: Encoder can optionally generate metadata. Tagger generates metadata.
  • foobar2000: Generates metadata through included plugin using EBU R128 (but at old 89 dB levels) for all supported tag formats.[38]
  • LAME: Encoder writes metadata to LAME tag
  • MediaMonkey: Analyze Volume calculates RG values and writes them into the files as tags and into its library database
  • MP3Gain: (open source) generates metadata. Can directly modify original file and write undo information as metadata.[39]
  • QuuxPlayer for Windows: calculates gain values and saves them in its library database; optionally writes ReplayGain tags to files with ID3v2 tags.
  • Quod Libet: Based on Ex Falso. Generates metadata through included plugin to analyze and write ReplayGain information
  • Rapid Evolution: Generates metadata
  • soundKonverter:[40] frontend for various audio conversion tools. Is built using KDE Development Platform and has a ReplayGain tool.
  • Winamp: Generates metadata

Streaming[edit]

  • Spotify[41]

Notes[edit]

  1. ^Although the original proposal specified an 83 dB SPL reference, an early departure from the proposal to 89 dB SPL was endorsed by its author.[3]
  2. ^Specifically SMPTE RP 200:2002 recommends an 83 dB SPL playback level for pink noise recorded at -20 dB with respect to a full-scale sine wave. ReplayGain uses -14 dB headroom and therefore has a reference 6 dB higher than the SMPTE spec.[4][5]

See also[edit]

References[edit]

  1. ^David Robinson (2010-12-17). 'ReplayGain Specification discussion'. Hydrogenaudio. Retrieved 2011-07-12.
  2. ^'ReplayGain specification'. Retrieved 2011-04-15.
  3. ^'Does Replay gain work differtly in Media monkey'. Hydrogenaudio. 2010-10-07. Retrieved 2010-12-30.
  4. ^Leslie, Rob (24 February 2004). 'Replay Gain'. mad-dev mailing list. mars.org. Retrieved 2007-03-10.
  5. ^'ReplayGain specification'. Retrieved September 13, 2011.
  6. ^ abEBU (August 2011). 'Loudness normalisation and permitted maximum level of audio signals'(PDF).
  7. ^Sam Costello. 'Using Sound Check with iPod'. About.com. Retrieved 2010-05-11.
  8. ^http://www.aimp.ru/index.php?do=features
  9. ^'Bug 81661 - Volume normalization for amaroK'. KDE Bug Tracking System. 2004-05-16. Retrieved 2010-12-30.
  10. ^'Amarok 2.1 – back to the future'. Padoca. 2009-02-15. Retrieved 2010-12-30.
  11. ^'Amarok 2.1 'Let There Be Light' released'. Amarok. 2009-06-03. Retrieved 2010-12-30.
  12. ^ ab'GASTEROPOD'. Archived from the original on January 29, 2009. Retrieved November 26, 2008.
  13. ^'DeaDBeeF - Ultimate Music Player For GNU/Linux'. Deadbeef.sourceforge.net. Retrieved 2016-07-29.
  14. ^'Does FLAC.exe decode support ReplayGain?'. Hydrogenaudio. 2004-01-07. Retrieved 2010-12-30.
  15. ^'Media Center'. Archived from the original on April 3, 2005. Retrieved January 7, 2006.
  16. ^'JavaTunes'. Stigc.dk. 2011-05-15. Retrieved 2011-11-24.
  17. ^'Play'. sbooth.org. Retrieved 2011-11-24.
  18. ^'Pocket Player 4'. Conduits. Retrieved 2011-11-24.
  19. ^'Pocket Player Plugins & Software Development Kit (SDK)'. Conduits. Retrieved 2011-11-24.
  20. ^'ProppFrexx ONAIR'. Proppfrexx.radio42.com. Retrieved 2011-11-24.
  21. ^'Qmmp Features'. Retrieved 2017-12-22.
  22. ^'RadioBOSS Web Site'. djsoft. Retrieved 2012-05-05.
  23. ^'SoX man page'. Retrieved 2011-11-24.
  24. ^'Modified xmms-mad'. 2005-03-06. Retrieved 2010-12-30.
  25. ^'XMPlay'. XMPlay. Retrieved 2011-11-24.
  26. ^'Zortan MP3 Media Studio'. Zortam. 2011-11-09. Retrieved 2011-11-24.
  27. ^'What is Rockbox? Why should I use it?'. Retrieved 2011-12-12.
  28. ^''Replay Gain' on Sansa Fuze, Fuze+ and Clip+'. Retrieved 2011-12-12.
  29. ^'DeaDBeeF Player'. Retrieved 2011-08-17.
  30. ^'GoneMAD Music Player'. Retrieved 2012-06-13.
  31. ^'Neutron Music Player'. Retrieved 2012-01-30.
  32. ^'MyTunes Music Manager'. Retrieved 2012-01-27.
  33. ^'PowerAMP v2.0'. Retrieved 2011-12-12.
  34. ^'Vanilla Music - Android Apps on Google Play'. Retrieved 2013-07-05.
  35. ^'WinAmp for Android'. Retrieved 2011-12-12.
  36. ^'A material designed music player for Android'. Retrieved 2020-01-09.
  37. ^'XenoAmp a Slightly Different Audio Player'. Retrieved 2017-04-26.
  38. ^'1.1.6 patch notes'. Retrieved 18 October 2012.
  39. ^'MP3Gain'. Hydrogenaudio. 2007-06-13. Retrieved 2010-12-30.
  40. ^https://github.com/HessiJames/soundkonverter/wiki
  41. ^Ian Stewart (October 24, 2019). 'Mastering for Streaming Platforms: 3 Myths Demystified'. iZotope. Retrieved 2020-10-28.

External links[edit]

  • ReplayGain at Hydrogenaudio wiki
  • Replay Gain – A Proposed Standard, the original proposal, now out of date with respect to current practice
  • Replay Gain in Linux — guide to using graphical and command line ReplayGain tools in Linux.
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